Carson Cooman is a
prolific composer of music in most forms
ranging from chamber opera through orchestral,
instrumental and choral to electro-acoustical
works. He has undertaken many commissions
and is particularly active in the field
of church and religious music; a ‘spiritual’
bent is also evident in his more obviously
secular music. The spread of works on
this CD reflects Cooman’s compositional
variety though an investigation of his
vocal music must await another recording.

Anybody expecting a
work of Bartókian dimension and
invention from Cooman’s exercise in
the orchestral concerto form will be
disappointed, though ‘Threads’ has its
virtues. The first movement Chorale
is processional in character, big colourful
blocks of sound with oriental touches
suggesting epic film music. The Nocturne,
an evocation of Boston’s Beacon Hill
at night, suggests a comforting neighbourhood
with the cello (recorded rather too
prominently) assigned a concertante
role. The influence of Copland is discernable.
The final movement called Patterns has
the feel of sea film music about it.
Its description in the notes as ‘energetic’
must be taken relatively, as it spends
a long time becalmed.

Cooman’s variations
for cello on a plainsong melody draws
fine playing from its dedicatee Craig
Hultgren Rather over-reliant on a glissando
figure, the work seems strongly felt
and was enjoyable to listen to though
I don’t feel the need to hear it again.
The same goes for Zest, though it is
interesting enough to remind me of Walton.

I can imagine enjoying
the three movements of the Sonata for
Brass Choir as a recital piece in a
resonant acoustic rather than with the
recessed sound on this CD (only for
this piece). The Arioso is involving
and the finale gains rhythmic interest
from its hints of the Czech furiant.

The composer describes
Beyond All Knowing as ‘an attempt to
create a "sacred space"’. Without having
a clear idea of what that might be,
I can only say that piece moves slowly
and solemnly in a conventionally religious
sort of way, conjuring up a ritualistic
procession of hooded figures. Though
I cannot say whether the composer has
achieved his objectives for the piece,
the music would certainly give a strong
background flavour to an appropriate
film-scene. The same could be said for
the Night Songs; a nature documentary
of some sort came to mind. Regrettably,
I could not make even this claim for
the Symphony of Light which fell well
short of the expectations created by
the ambitious title, being without any
strong character and harmonically uninspired.

The overall impression
of the CD is of music that mostly engaged
me at the time of listening but is not
particularly memorable. I kept hoping
for something more distinctive as each
new piece presented itself but I was
ultimately disappointed. Still, with
over 450 works to his credit, Cooman
must be worth further investigation,
perhaps starting at www.carsoncooman.com,
especially if you are interested in
contemporary religious music.
Roger Blackburn

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